« L’héritage haendélien et Michael Tippett : G. F. Haendel, modèle et contre-modèle » : Haendel après Haendel : Construction, renommée, influence de Haendel et de la figure haendelienne - Université de Lorraine Access content directly
Journal Articles Musicorum Year : 2013

« L’héritage haendélien et Michael Tippett : G. F. Haendel, modèle et contre-modèle » : Haendel après Haendel : Construction, renommée, influence de Haendel et de la figure haendelienne

Abstract

Needless to say that George Frederick Handel, the greatest composer of all times according to Ludwig van Beethoven, influenced many British and non-British musicians. The aim of this article is to study Handel’s influence on the English musician Michael Tippett (1905-1998). Handel was both a model and a counter-model for the English composer, as is expressed in some of Tippet’s musical pieces and essays. As a model, his influence on Tippett’s works particularly appears in compositions such as Concerto for Double String Orchestra (1938-39), based on the German-born composer’s concerti grossi, Fantasia on a Theme of Handel (1939-41), whose main theme is borrowed from Suite No.1 for harpsichord in B flat major, HWV (1733 volume) and A Child of Our Time (1939-41), which uses the tripartite structure of Handel’s Messiah. On the contrary, Handel is considered a counter-model by Tippett regarding the way to set an English text to music.
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Dates and versions

hal-01524522 , version 1 (18-05-2017)

Identifiers

  • HAL Id : hal-01524522 , version 1

Cite

Jean-Philippe Heberlé. « L’héritage haendélien et Michael Tippett : G. F. Haendel, modèle et contre-modèle » : Haendel après Haendel : Construction, renommée, influence de Haendel et de la figure haendelienne. Musicorum, 2013, 14, 14p. ⟨hal-01524522⟩
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